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In Scene Steal, Acconci, fully clothed, tries to shield a nude woman from the camera. In Container, he wraps his nude body around a cat as if to totally enclose it.
Two sacred architectural structures of two dissimilar cultures — the kiva of the Native American and the cathedral of Western Europe — are juxtaposed to contemplate their cultural and spiritual differences.
In 1930, Russian avant-garde filmmaker Sergei Eisenstein spent six months in Los Angeles under contract with Paramount. A decade later, German playwright and theater director Bertolt Brecht, a refugee from Nazi Germany, lived there from 1941 to 1947. Both set out to make films in Hollywood on their own terms.
Featuring performances from Jenkins's fellow Otis Art Institute classmates Greg Pitts, Ronnie Nichols, Roger Trammell, and Kerry James Marshall, Two-Zone Transfer depicts, in Jenkins's words, a "dreamscape in which the dreamer awakens to a visitation of three minstrels who tell the story of the development of African American stereotypes in the American entertainment industry."
This performance takes place at the Puente de Cal y Canto bridge in Santiago de Chile, constructed during colonial times at the site where an Inka rope bridge had once connected the south and north of Chile. Vicuña invited friends and passersby to join in creating "a living knot" (un nudo vivo),...
Untitled haphazardly records two lessons: one a father’s instruction to son on the proper handling of a firearm, the other a son’s instruction to father on how to use home-video equipment. The firearm instruction is recorded with the lens-cap accidentally left on, replacing the image with a cryptic bulls-eye symbol of pulsing shadow and light, shifting with the camera’s auto-focus.
Borrowing its text from assorted excerpts from the Mark Fisher-edited essay collection The Resistible Demise of Michael Jackson (2009), Untitled (m.j. the symptom) examines the King of Pop as a complex set of contradictory signifiers, a funhouse reflection that is as distinct, spectacular, and...
Murata transforms footage from the 1982 Sylvester Stallone film Rambo: First Blood into a morass of seething electronic abstraction. Subjected to Murata's meticulous digital reprocessing, the action scenes decompose and are subsumed into an almost palpable, cascading digital sludge, presided over by a hypnotically pulsating pink dot.
Up To and Including Her Limits extends the principles of Jackson Pollock's action painting. Schneemann is suspended from a rope harness, naked and drawing; her moving body becomes a measure of concentration, the sustained and variable movements of her extended drawing hand creates a dense web of...
